Film Format: Super 8

  • Gertrude & Alice in Passing

    This experiment in point of view, narrative structure, and time attempts to reproduce cinematically Gertude Stein’s notion of a “continuous present.” In four rhyming shots/scenes, it suggests the development of a relationship over many years. Based on biographical details from the lives of Gertrude Stein and Alice B. Toklas, with improvised performances by Jackie Burroughs and Anne Anglin.

  • beth olem | house of the world

    two super 8 camera rolls capturing the beth olem cemetery in detroit on the site of GM’s “Poletown” plant, only open 4 hours per year.

  • Self-Portrait in Hell

    Self-Portrait in Hell is a hybrid film that combines analog and digital film manipulation techniques. Multiple layers of 8mm films and disparate fragments are amalgamated to create a self-portrait of the director. A singular self-portrait, since ironically the subject of the film is not the director but the image found in abandoned film archives, the image of another, unknown woman. The first layer is from a 1970s 8mm home movie titled Woman Dancing with Dog and was found in an antique shop. The second layer is an 8mm film belonging to an unknown archive, which the artist buried for a…

  • Highs

    A series of brief poetic images with sudden and surprising turns, in the spirit of haiku.

  • Absence

    “This film is about ‘nothing.’ Hints of dramatic ‘loss’ are imaged throughout, but the primary effect of the film is to give, through fleeting and ephemeral visions, a sense of something which almost exists but unhappily doesn’t.” – Marilyn Jull

  • In the Alcove, at the Place

    For “In the Alcove, at the Place” Davis went back to the alcove (a private place in her room) and the place (the four corners of an intersection in Toronto, consisting of a house, two grocery stories, and a coin wash) every couple of weeks for nine months. In her alcove she filmed herself sitting in a chair; at the place she filmed aspects of its everyday life, making discoveries about it and becoming friendly with some of its inhabitants. In both alcove and place, there is change but also repetition. Among other things, the film concerns her growing familiarity…

  • Introducing Elwy

    A silent “talking heads” film. Elwy Yost as a purely physical presence as he talks to the camera, often in extreme close-up.

  • Making a Scene

    Offers passersby the opportunity to don a mask and become either an elephant or a mosquito. A look at people’s inhibitions.

  • Mine’s Bedlam

    Life is like a gigantic phonograph record fifty feet across. Or like one of those whirling discs at the old amusement park. You get on the disc and it’s spinning and the faster it goes, the more centrifugal force builds up to throw you off it. The speed on the outer edge of the disc is so great you have to hold on for dear life just to stay on. The closer you get to the center of the disc, the slower the speed is and the easier it is to stand up. In fact, at the very center there…

  • How To Burn A Cross

    A Super 8 experimental film transforms the ritual of cross-burning into a stark meditation on violence, spectacle, and inherited American terror.